Spider Man Stan Lee Autographed Photo Framed - Marvel Comics Spider Man Stan Lee Autographed Photo Framed - Marvel Comics Mediums: The Amazing Spider-Man Marvel Masterworks, Volume 3 by Stan Lee, Steve Ditko |, Paperback | Barnes & Noble® Related Subjects Overview In 1962 in the pages of a comic book slated for cancellation, Stan Lee and Steve Ditko gave birth to one of the most-enduring icons in American popular culture-the one and only Amazing Spider-Man! Turning the concept of a super hero on its head, they imbued the young, guilt-ridden Peter Parker with the fantastic powers of an arachnid and the fantastic pressures of an everyday teenager. The combination was pure magic. So join us in the following pages as we present stories of spectacular web-slinging adventure from Spidey's early days including battles with the Green Goblin, the Molten Man, Vulture and Scorpion! Featuring appearences by Dr. Strange and the Human Torch! Advertising Stan Lee | Lambiek Comiclopedia Stan Lee (b. 28 December 1922, USA) Born Stanley Lieber in New York in 1922, Stan Lee originally wanted to become a novelist.

He instead entered the comic book scene at age seventeen, as assistant editor for the Timely Comics group. His first script was the 'Captain America' text story 'Captain America Foils the Traitor's Revenge' (1941), in which he gave the superhero his iconic shield-toss. That same year he created his first characters, the Destroyer (with either Jack Binder or Alex Schomburg ; Historians still debate the issue), as well as Jack Frost (co-created with Frank Giacoia and Carmine Infantino ) and Father Time, whom Lee thought up in collaboration with Jack Alderman . In 1942 Lee was promoted to editor. He also became one of the major scriptwriters of the company, after Jack Kirby and Joe Simon had left. During this period he mostly wrote stories for the above mentioned series, as well for 'Sub-Mariner', 'Young Allies', 'The Witness' and 'The Human Torch'. In the 1950s, after Timely renamed itself "Atlas Comics", he penned scripts for superhero comics starring 'The Whizzer' and 'Black Marvel', but also horror, romance, comedy, SF, western and fantasy adventures.

Together with Dan DeCarlo Lee took over the comic strip 'My Friend Irma' (1950-1955) from Jack Seidel , which was based on the succesful radio sitcom of the same name. However, this broader scope of genres and quicker production couldn't prevent Atlas from going bankrupt in 1957. At the time their comic books were predominantly assembly line work that didn't allow Lee to show off his own originality. By 1961, when the company renamed itself Marvel, he was on the brink of quitting comics for good. Lee's wife convinced him to try a final story more in line with his personal taste. This comic book, 'The Fantastic Four' (1961), drawn by Jack Kirby , unexpectedly became an over-nite sensation. It not only saved Marvel, but also transformed them into the major competitor of rival company DC. Lee naturally decided to stay and received more creative freedom.

He co-created a great many popular titles, such as 'Spider-Man' (1962, with Steve Ditko ), 'Thor' (1962, with Jack Kirby and Larry Lieber ), 'The Incredible Hulk' (1962, with Kirby), 'The X-Men' (1963, with Kirby), 'Iron Man' (1963, with Lieber, Kirby and Don Heck ), 'The Avengers' (1963, with Kirby), 'Sgt Fury and His Howling Commandos' (1963 with Kirby and Dick Ayers), 'Doctor Strange' (1963, with Ditko), 'Daredevil' (1964, with Kirby and Bill Everett ), 'Hawkeye' (1964, with Heck) and his personal favorite 'The Silver Surfer' (1966, with Kirby). Bruce Banner turns into the Incredible Hulk (Incredible Hulk #2, artwork by Jack Kirby) The strength of Lee's scripts was that he endowed his characters with super-human abilities, yet with human failings and emotions the reader could identify with. The Fantastic Four, for instance, often argue with one another.

Peter Parker ('Spider-Man') is a geeky teenager who is often bullied and full of recognizable teenage self-doubt, even questioning why he - of all people - should be saving mankind? Characters like the Thing ('The Fantastic Four') and the Hulk are ultra strong, yet have a monstrous appearance that feels more like a curse than a blessing to them. Iron Man is forced to wear armor due to a shrapnel stuck through his heart. Another break with tradition was the absence of sidekicks and one-dimensional villains. Dr. Doom ('The Fantastic Four') and The Green Goblin ('Spider-Man') weren't simply evil for the sake of being evil, but had personal problems which explained their motivations and made readers sometimes pity them. Lee enriched dialogue by having characters speak in slang and use language that fit their respective personalities. The Silver Surfer was introduced during the "Galactus trilogy" in Fantastic Four #48-50 (Art: Jack Kirby) "Stan the Man" also introduced the concept of a "shared universe". Characters from different Marvel franchises all co-exist in the same world, making frequent cameos and crossovers possible.

While other superhero comics tried similar ideas Lee and his colleagues took it to another level, where the team-ups felt part of a larger story instead of being mere guest spots. Marvel's series also drew attention by addressing real-life issues, such as racism, social activism, drug abuse and actual death. The Black Panther (co-created with Jack Kirby , 1966), The Falcon, (co-created with Gene Colan , 1969) and Luke Cage (created by Archie Goodwin and John Romita Sr. , 1972) were the first African-American super-heroes. Emotions and doubts in Amazing Spider-Man #97: 'Green Goblin Reborn!' (art: Gil Kane ) One particular 'Spider-Man' story in issue 96-98 (1971) dealt with Peter Parker's best friend coping with his drug addiction. The Comics Code heavily objected against the depiction of this taboo subject in a children's medium. However, after publication the story drew so much praise that the Comics Code lost a lot of their authority. Within a few years they practically ceased out of existence, allowing more creative freedom for U.S. comics publishers.

One of the groundbreaking stories that otherwise wouldn't have been published was the 'Spider-Man' episode 'The Night Gwen Stacy Died' (1973), written by Gerry Conway and drawn by Gil Kane , John Romita Sr. and Tony Mortellaro , which shocked audiences by having a major character in the franchise permanently die off. By moving away from the safe, child friendly worlds of most super hero comics and writing more complex and contemporary tales, Marvel reached a more mature demographic. Colleges, magazines and talk show hosts invited Lee for readings and interviews. Film directors Federico Fellini and Alain Resnais told him in person how much they adored his work. Resnais even wrote a screenplay with Lee called 'The Inmates/ The Monster Maker', but this idea never materialized. Yet Lee did play the narrator in Resnais' film 'L'An 01' (1973): an adaptation of the eponymous comic book by Gébé . Manga by Stan Lee In 1966 Steve Ditko left Marvel. Jack Kirby did the same in 1970. John Romita Sr. then emerged as Lee's main co-artist.

In 1972, Lee became publisher and editorial director of Marvel. Two years later he and John Buscema wrote a book titled 'Origins of Marvel Comics'. 1998 saw the foundation of the marketing studio Stan Lee Media, but in 2001 the company filed for bankruptcy due to illegal stock manipulation. Lee himself had nothing to do with this crime and was thus never prosecuted. In the timespan of half a century "Stan the Man" created countless new comics series or one-shot albums. Even in old age he remained open for innovation and experimentation. In 1977 a comic book about the rock band Kiss was published. The book 'Just Imagine Stan Lee' (2001) reinvented several superheroes from rival company DC as a one-shot joke. He even delved into manga, with the publication of Hiroyuki Takei 's 'Karakuridóji Ultimo' (2008-2015) and Tamon Ohta 's 'Heroman' (2009-2012). In 2010 the Stan Lee Foundation was established to promote literacy, education and art projects.

Stan Lee has also made several cameos in comic books, like here with Jack Kirby in Fantastic Four Annual #3 Various TV and Hollywood adaptations have kept the public interest in Marvel Comics alive. Lee made it a contractual obligation to have a cameo in all of Marvel's film adaptations since 'Spider-Man' (2002). This, along with frequent appearances in talk shows, documentaries, sitcoms, video games and at comic-cons, made him arguably one of the most recognizable comics authors in the world. The comics veteran received the National Medal of Arts in 2008 and three years later his own star on the Hollywood Walk of Fame. In 2007, as an ultimate tribute, Marvel built an action figure modelled after him. Typical tongue-in-cheek Marvel credit byline from Captain America #101 While the spiritual father of Spider-Man, the Hulk and the Fantastic Four has achieved a legendary status among comics fans Stan Lee was not free from controversy. The amount of credit he deserves for his innovations and creations has sometimes been contested. When preparing stories Lee usually only wrote a brief synopsis. His artists would then think and draw out the stories themselves. Afterwards Lee just filled in the speech balloons and captions.

Thanks to his knack for self-promotion and the fact that he outlived many of his contemporaries he nevertheless became far more famous and respected than his former colleagues. Jack Kirby and Steve Ditko in particular held a lifelong grudge against him. While the debate still rages on to this day, it must be said that Stan Lee gave his artists more credit than previously had been the rule in the business. At the start of each story he cited the writer, illustrator and even the penciller, inker, colorist and letterer. Not only did this tighten the bond between creator and audience: it also made these previously anonymous people more familiar names to the outside world. The comics icon also deserves respect for saving the entire superhero comics industry from fading away in popularity. Without his risk-taking, impressive productivity and streamlining of different talents many of the most hailed artists in the field probably wouldn't exist in the same way.

Spiderman Stan Lee Autographed Photo Framed - Origin - 20x24 Spiderman Stan Lee Autographed Photo Framed - Origin - 26x32 Mediums: Bluebird | Heroes Wiki | Fandom powered by Wikia Bluebird (Sally Avril), sometimes rendered Blue Bird, is a supporting character in Marvel Comics's Spider-Man series. Created by Stan Lee and Steve Ditko, she first appeared in Amazing Fantasy #15 (1962). Powers and abilities Bluebird possessed no superhuman powers and used the following gadgets to fight crime: a retractable rope-line, insulated boots to protect her from electricity, blue paint pellets and ether-filled "eggs". Avril was also a skilled gymnast. Sally Avril Steve Ditko: Early Life and Career, Marvel Comics, Charlton and DC Comics, Latter-day Ditko, Personal Life, Awards and Honors, Legacy, Selected Bibliography, Further Reading, and a List of Books by Author Steve Ditko Early Life and Career more ï¿½ ï¿½ less Stephen J.

Ditko was born in Johnstown, Pennsylvania, the son of first-generation Americans of Czechoslovakian descent: Stephen Ditko, an artistically talented master carpenter at a steel mill, and Anna, a homemaker. The second-eldest child in a working-class family, he was preceded by sister Anna Marie and followed in uncertain order by sister Betty and brother Patrick. Inspired by his father's love of newspaper comic strips, particularly Hal Foster's Prince Valiant, Ditko found his interest in comics accelerated by the introduction of superhero Batman in 1940, and by Will Eisner's The Spirit, which appeared in a tabloid-sized comic-book insert in Sunday newspapers. Good with his hands, Ditko in junior high school was part of a group of students who crafted wooden models of German airplanes to aid civilian World War II aircraft-spotters. Upon graduating from Johnstown High School in 1945, he enlisted in the U.S. Army on October 26, 1945, and did military service in postwar Germany, where he drew comics for an Army newspaper.

Following his discharge, Ditko learned that his idol, Batman artist Jerry Robinson, was teaching at the Cartoonists and Illustrators School (later the School of Visual Arts) in New York City. Moving there in 1950, he enrolled in the art school under the G.I. Bill. Robinson found the young student "a very hard worker who really focused on his drawing" and someone who "could work well with other writers as well as write his own stories and create his own characters", and he helped Ditko acquire a scholarship for the following year. Ditko began professionally illustrating comic books in early 1953, illustrating writer Bruce Hamilton's science-fiction story "Stretching Things" for Stanmor Publications, which in turn sold the story to Ajax/Farrell, which published it in Fantastic Fears #5 (Feb. 1954). Ditko's first published work was his second professional story, the six-page story "Paper Romance" in Daring Love #1 (Oct. 1953), published by the Key Publications imprint Gillmor Magazines.

Shortly afterward, Ditko found work at the studio of celebrated writer-artists Joe Simon and Jack Kirby, who had created Captain America and other characters and had instituted numerous industry innovations. Beginning as an inker on backgrounds, Ditko was soon working with and learning from Mort Meskin, an artist whose work he had long admired. "Meskin was fabulous," Ditko once recalled. "I couldn't believe the ease with which he drew: strong compositions, loose pencils, yet complete; detail without clutter. I loved his stuff". Ditko's known assistant work includes aiding inker Meskin on the Jack Kirby pencil work of Harvey Comics' Captain 3-D #1 (Dec. 1953). For his own third published story, Ditko penciled and inked the six-page "A Hole in His Head" in Black Magic vol. 4, #3 (Dec. 1953), published by Simon & Kirby's Crestwood Publications imprint Prize Comics. Black Magic vol. 4, #3 [27 (Dec. 1953)] at the Grand Comics Database Ditko then began a long association with the Derby, Connecticut publisher Charlton Comics, a low-budget division of a company best known for song-lyric magazines.

Beginning with the cover of The Thing #12 (Feb. 1954) and the eight-page vampire story "Cinderella" in that issue, Ditko would continue to work intermittently for Charlton until the company's demise in 1986, producing science fiction, horror and mystery stories, as well as co-creating Captain Atom, with writer Joe Gill, in 1960. He first went on hiatus from the company, and comics altogether, in mid-1954, when he contracted tuberculosis and returned to his parents' home in Johnstown to recuperate. Marvel Comics more ï¿½ ï¿½ less After he recovered and moved back to New York City in late 1955, Ditko began drawing for Atlas Comics, the 1950s precursor of Marvel Comics, beginning with the four-page "There'll Be Some Changes Made" in Journey into Mystery #33 (April 1956); this debut tale would be reprinted in Marvel's Curse of the Weird #4 (March 1994).

Ditko would go on to contribute a large number of stories, many considered classic, to Atlas/Marvel's Strange Tales and the newly launched Amazing Adventures, Strange Worlds, Tales of Suspense and Tales to Astonish, issues of which would typically open with a Kirby-drawn monster story, followed by one or two twist-ending thrillers or sci-fi tales drawn by Don Heck, Paul Reinman, or Joe Sinnott, all capped by an often-surreal, sometimes self-reflexive short by Ditko and writer-editor Stan Lee. These bagatelles proved so popular that Amazing Adventures was reformatted to feature such stories exclusively beginning with issue #7 (Dec. 1961), when the comic was rechristened Amazing Adult Fantasy ... a name intended to reflect its more "sophisticated" nature, as likewise the new tagline "The magazine that respects your intelligence". Creation of Spider-Man After Marvel Comics editor-in-chief Stan Lee obtained permission from publisher Martin Goodman to create a new "ordinary teen" superhero named "Spider-Man", Lee originally approached his leading artist, Jack Kirby.

Kirby told Lee about his own 1950s character conception, variously called the Silver Spider and Spiderman, in which an orphaned boy finds a magic ring that gives him superpowers. Comics historian Greg Theakston says Lee and Kirby "immediately sat down for a story conference" and Lee afterward directed Kirby to flesh out the character and draw some pages. "A day or two later", Kirby showed Lee the first six pages, and, as Lee recalled, "I hated the way he was doing it. Not that he did it badly ... it just wasn't the character I wanted; it was too heroic". Lee turned to Ditko, who developed a visual motif Lee found satisfactory, although Lee would later replace Ditko's original cover with one penciled by Kirby. Ditko said, "The Spider-Man pages Stan showed me were nothing like the (eventually) published character. In fact, the only drawings of Spider-Man were on the splash [i.e., page 1] and at the end [where] Kirby had the guy leaping at you with a web gun...

Anyway, the first five pages took place in the home, and the kid finds a ring and turns into Spider-Man." Ditko also recalled that, "One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character...." Much earlier, in a rare contemporaneous account, Ditko described his and Lee's contributions in a mail interview with Gary Martin published in Comic Fan #2 (Summer 1965): "Stan Lee thought the name up. I did costume, web gimmick on wrist & spider signal".

He added he would continue drawing Spider-Man "[i]f nothing better comes along." That same year, he expressed to the fanzine Voice of Comicdom, regarding a poll of "Best Liked" fan-created comics, "It seems a shame, since comics themselves have so little variety of stories and styles that you would deliberately restrict your own creative efforts to professional comics shallow range. What is 'Best Liked' by most readers is what they are most familiar in seeing and any policy based on readers likes has to end up with a lot of look-a-like strips. You have a great opportunity to show everyone a whole new range of ideas, unlimited types of stories and styles---why FLUB it!" From 1958 to either 1966 or 1968 (accounts differ), Ditko shared a Manhattan studio at 43rd Street and Eighth Avenue with noted fetish artist Eric Stanton, an art-school classmate. When either artist was under deadline pressure, it was not uncommon for them to pitch in and help the other with his assignment, and the introduction to one book of Stanton's work says, "Eric Stanton drew his pictures in India ink, and they were then hand-coloured by Ditko".

In a 1988 interview with Theakston, Stanton recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas. But the whole thing was created by Steve on his own... I think I added the business about the webs coming out of his hands". Spider-Man debuted in Amazing Fantasy #15 (Aug. 1962), the final issue of that science-fiction/fantasy anthology series. When the issue proved to be a top seller, Spider-Man was given his own series, The Amazing Spider-Man. Doctor Strange and other characters After drawing the final issue of The Incredible Hulk (#6, March 1963), Ditko co-created with Lee the supernatural hero Doctor Strange, in Strange Tales #110 (July 1963). Ditko and Lee shortly thereafter relaunched a Hulk series as a short feature in the anthology Tales to Astonish, beginning with issue #60 (Oct. 1964). Ditko, inked by George Roussos, penciled the feature through #67 (May 1965).

Ditko designed the Hulk's primary antagonist, the Leader, in #62 (Dec. 1964). Ditko also penciled the Iron Man feature in Tales of Suspense #47—49 (Nov. 1963 — Jan. 1964), with various inkers. The first of these debuted the initial version of Iron Man's modern red-and-golden armor, though whether Ditko or cover-penciler and principal character designer Jack Kirby designed the costume is uncertain. Though often overshadowed by his Amazing Spider-Man work, Ditko's "Doctor Strange" stories have been equally acclaimed, for their surrealistic mystical landscapes and increasingly psychedelic visuals that helped make the feature a favorite of college students. "People who read 'Doctor Strange' thought people at Marvel must be heads [e.g. drug users]," recalled then-associate editor and former Doctor Strange writer Roy Thomas in 1971, "because they had had similar experiences high on mushrooms. But ... I don't use hallucinogens, nor do I think any artists do." Eventually, as co-plotter and later sole plotter, in the "Marvel Method", Ditko would take Strange into ever-more-abstract realms.

In an epic 17-issue story arc in Strange Tales #130-146 (July 1965 - July 1966), Ditko introduced the cosmic character Eternity, who personified the universe and was depicted as a silhouette whose outlines are filled with the cosmos. As historian Bradford W. Wright describes, Steve Ditko contributed some of his most surrealistic work to the comic book and gave it a disorienting, hallucinogenic quality. Dr. Strange's adventures take place in bizarre worlds and twisting dimensions that resembled Salvador Dali paintings. ... Inspired by the pulp-fiction magicians of Stan Lee's childhood as well as by contemporary Beat culture. Dr. Strange remarkably predicted the youth counterculture's fascination with Eastern mysticism and psychedelia. Never among Marvel's more popular or accessible characters, Dr. Strange still found a niche among an audience seeking a challenging alternative to more conventional superhero fare. The cartoonist and fine artist Seth in 2003 described Ditko's style as "oddball for mainstream comics. Whereas Kirby's stuff clearly appealed to a boy's sensibility because there was so much raw power, Ditko's work was really delicate and cartoony.

There was a sense of design to it. You can always recognize anything that Ditko designed because it's always flowery. There is a lot of embroidered detail in the art, which is almost psychedelic." Whichever feature he drew, Ditko's idiosyncratic, cleanly detailed, instantly recognizable art style, emphasizing mood and anxiety, found great favor with readers. The character of Spider-Man and his troubled personal life meshed well with Ditko's own interests, which Lee eventually acknowledged by giving the artist plotting credits on the latter part of their 38-issue run. But after four years on the title, Ditko left Marvel; he and Lee had not been on speaking terms for some time, with art and editorial changes were handled through intermediaries. The details of the rift remain uncertain, even to Lee, who confessed in 2003, "I never really knew Steve on a personal level." Ditko later claimed it was Lee who broke off contact and disputed the long-held belief that the disagreement was over the true identity of the Green Goblin: "Stan never knew what he was getting in my Spider-Man stories and covers until after [production manager] Sol Brodsky took the material from me ...

so there couldn't have been any disagreement or agreement, no exchanges ... no problems between us concerning the Green Goblin or anything else from before issue #25 to my final issues". Regardless, said Lee in 2007, "Quite a few years ago I met him up at the Marvel offices when I was last in New York. And we spoke; he's a hell of a nice guy and it was very pleasant. ... I haven't heard from him since that meeting." Comics historian Greg Theakston, who visited Ditko on occasion, theorized Ditko saw The Amazing Spider-Man as semi-autobiographical: "Spider-Man was the culmination of everything Ditko was up until that moment. Ditko had personal ties to the character. When people started to 'manipulate him' into bringing in more romance into the strip and changing the direction, Ditko felt slighted, crushed ... they were telling him how to do it. He wouldn't be told".

Writer and future Marvel editor Roy Thomas said in a 1998 interview, "I'll never forget the day I walked into one Marvel office not long after Ditko quit, and here's John Romita [Sr.] drawing Amazing Spider-Man and Larry [Lieber] drawing the Spider-Man Annual and Marie Severin drawing 'Dr. Strange', and I joked, 'This is the Steve Ditko Room; it takes three of you to do what Steve Ditko used to do'". Charlton and DC Comics more ï¿½ ï¿½ less Back at Charlton ... where the page rate was low but creators were allowed greater freedom ... Ditko worked on such characters as Blue Beetle (1967—1968), The Question (1967—1968), Captain Atom (1965—1967), returning to the character he'd co-created in 1960. In addition, in 1966—1967, he drew 16 stories, most of them written by Archie Goodwin for Warren Publishing's horror comic magazines Creepy and Eerie, most of which were done using ink-wash.

In 1967, Ditko gave his conservative ideas ultimate expression in the form of Mr. A, published in Wally Wood's independent title witzend #3. Ditko's hard line against criminals was controversial and he continued to produce Mr. A stories and one-pagers until the end of the 1970s. Ditko returned to Mr. A in 2000 and in 2009. Ditko moved to DC Comics in 1968, where he created the Creeper in Showcase #73 (April 1968) with scripter Don Segall, under editor Murray Boltinoff. Ditko also created the quirky team Hawk and Dove in Showcase #75 (June 1968), with writer Steve Skeates. Around this time, he also penciled the lead story, written and inked by Wally Wood, in Wood's early mature-audience, independent-comics publication Heroes, Inc. Presents Cannon (1969). Ditko's stay at DC was short ...

he would work on all six issues of the Creeper's own title, Beware the Creeper (June 1968—April 1969), though leaving midway through the final one ... and the reasons for his departure uncertain. But while at DC, Ditko recommended Charlton staffer Dick Giordano to the company, who would go on to become a top DC penciller, inker, editor, and ultimately the managing editor, in 1981. From this time up through the mid-1970s, Ditko worked exclusively for Charlton and various small press/independent publishers. Frank McLaughlin, Charlton's art director during this period, describes Ditko as living "in a local hotel in Derby for a while. He was a very happy-go-lucky guy with a great sense of humor at that time, and always supplied the [female] color separators with candy and other little gifts". For Charlton in 1974 he did Liberty Belle backup stories in E-Man and also conceived Killjoy.

Ditko also produced much work for Charlton's science-fiction and horror titles, as well as for former Marvel publisher Martin Goodman's start-up line Atlas/Seaboard Comics, where he co-created the superhero the Destructor with writer Archie Goodwin, and penciled all four issues of the namesake series (Feb.—Aug. 1975), the first two of which were inked by fellow comics legend Wally Wood. Ditko also worked on the second and third issues of Tiger-Man and the third issue of Morlock 2001, with Bernie Wrightson inking. Latter-day Ditko more ï¿½ ï¿½ less Ditko returned to DC Comics in 1975, creating a short-lived title, Shade, the Changing Man (1977—1978). Shade was later revived, without Ditko's involvement, in the DC's mature-audience imprint Vertigo Comics. With Paul Levitz (writer) and Wally Wood (inker), he co-created Stalker (1975—1976) which ran for four issues.

He also revived the Creeper and did such various other jobs as a short Demon backup series in 1979, work on Legion of Superheroes in 1980—1981, and stories in DC's horror and science-fiction anthologies. He also drew the Prince Gavyn version of Starman in Adventure Comics #467—478 (1980). He then decamped to do work for a variety of publishers, briefly contributing to DC again in 1986, with four pinups of his characters for Who's Who in the DC Universe and a pinup for Superman #400 and its companion portfolio. Ditko returned to Marvel in 1979, taking over Jack Kirby's Machine Man, drawing The Micronauts, co-creating Captain Universe, and continuing to freelance for the company into the late 1990s. In 1982, he also began freelancing for the early independent comics label Pacific Comics, beginning with Captain Victory and the Galactic Rangers #6 (Sept. 1982), in which he introduced the superhero Missing Man, with Mark Evanier scripting to Ditko's plot and art.

Subsequent Missing Man stories appeared in Pacific Presents #1—3 (Oct. 1982—March 1984), with Ditko scripting the former and collaborating with Robin Snyder on the script for the latter two. Ditko also created the Mocker for Pacific, in Silver Star #2 (April 1983). For Eclipse Comics, he contributed a story featuring his character Static (no relation to the later Milestone Comics character) in Eclipse Monthly #1—3 (Aug.—Oct. 1983), introducing supervillain the Exploder in #2. With writer Jack C. Harris, Ditko drew the backup feature "The Faceless Ones" in First Comics' Warp #2—4 (April—June 1983). Working with that same writer and others, Ditko drew a handful of the Fly, Fly-Girl and Jaguar stories for The Fly #2—8 (July 1983 — Aug. 1984), for Archie Comics' short-lived 1980s superhero line; in a rare latter-day instance of Ditko inking another artist, he inked penciler Dick Ayers on the Jaguar story in The Fly #9 (Oct.

1984) In 1993, he did the Dark Horse Comics one-shot The Safest Place in the World. For the Defiant Comics series Dark Dominion, he drew issue #0, which was released as a set of trading cards. In 1995, he pencilled a four-issue series for Marvel based on the Phantom 2040 animated TV series. This included a poster that was inked by John Romita Sr. Steve Ditko's Strange Avenging Tales was announced at a quarterly series from Fantagraphics Books, although it only ran one issue (Feb. 1997) due to publicly unspecified disagreements between Ditko and the publisher. The New York Times assessed in 2008 that, "By the '70s he was regarded as a slightly old-fashioned odd-ball; by the '80s he was a commercial has-been, picking up wretched work-for-hire gigs. ...following the example of [Ayn] Rand's John Galt, Ditko hacked out moneyï¿½making work, saving his care for the crabbed Objectivist screeds he published with tiny presses.

And boy, could Ditko hack: seeing samples of his Transformers coloring book and his Big Boy comic is like hearing Orson Welles sell frozen peas." Ditko retired from mainstream comics in 1998. His later work for Marvel and DC included established superheroes as the Sub-Mariner (in Marvel Comics Presents) and newer, licensed characters such as the Mighty Morphin Power Rangers. The last mainstream character he created was Marvel's Longarm in Shadows & Light #1 (Feb. 1998), in a self-inked, 12-page Iron Man story "A Man's Reach....", scripted by Len Wein. His final mainstream work was a five-page New Gods story for DC, "Infinitely Gentle Infinitely Suffering", inked by Mick Gray and believed to be intended for the 2000—2002 Orion series but not published until the 2008 trade paperback Tales of the New Gods. Since then, Ditko's solo work has been published intermittently by independent publisher and longtime friend Robin Snyder, his editor at Charlton, Archie Comics, and Renegade Press in the 1980s.

The Snyder publications have included a number of original books as well as reprints such as Static, The Missing Man, The Mocker and, in 2002, Avenging World, a collection of stories and essays spanning 30 years. In 2008, Ditko and Snyder released The Avenging Mind, a 32-page essay publication featuring several pages of new artwork; and Ditko, etc...., a 32-page comic book composed of brief vignettes and editorial cartoons, introducing such new characters as the Hero. In January 2009 Ditko Continued was released, featuring, amongst other material, the first part of a new Mr. A story, followed by Oh, No! Not Again, Ditko!, Ditko Once More, Ditko Presents, A Ditko Act Two, A Ditko Act 3 and Act 4 in the same format. In late 2009, Ditko and Snyder published a reprint of the 1973 Mr. A comic. Personal Life more ï¿½ ï¿½ less Ditko resides in New York City as of 2008.

He has refused to give interviews or make public appearances since the 1960s, explaining in 1969 that, "When I do a job, it’s not my personality that I’m offering the readers but my artwork. It’s not what I'm like that counts; it’s what I did and how well it was done.... I produce a product, a comic art story. Steve Ditko is the brand name". He has, however, contributed numerous essays to Snyder's fanzine The Comics. Ditko is an ardent supporter and advocate of the philosophy of Objectivism. He has an artist nephew also named Steve Ditko. According to Will Eisner, Ditko has one son. 1962 Alley Award for Best Short Story..."Origin of Spider-Man" by Stan Lee & Steve Ditko, Amazing Fantasy #15 (Marvel Comics).

1963 Alley Award for Best Adventure Hero Comic Book: The Amazing Spider-Man 1963 Alley Award for Top Hero: Spider-Man 1964 Alley Award for Best Adventure Hero Comic Book: The Amazing Spider-Man 1964 Alley Award for Best Giant Comic: The Amazing Spider-Man Annual #1 1964 Alley Award for Best Hero: Spider-Man 1965 Alley Award for Best Adventure Hero Comic Book: The Amazing Spider-Man 1965 Alley Award for Best Hero: Spider-Man 1985 Eagle Award: Roll of Honour In 1987, Ditko was presented a Comic-Con International Inkpot Award in absentia, accepted on his behalf by Renegade Press publisher Deni Loubert, who had published Ditko's World the previous year. Ditko refused the award, and returned it to Loubert after having phoned her to say, "Awards bleed the artist and make us compete against each other. They are the most horrible things in the world. How dare you accept this on my behalf". At his behest, Loubert returned the award to the convention organizers.

Ditko was inducted into the Jack Kirby Hall of Fame in 1990, and into the Will Eisner Award Hall of Fame in 1994. Legacy more ï¿½ ï¿½ less In September 2007, Jonathan Ross hosted a one-hour documentary, In Search of Steve Ditko for the arts channel BBC Four. Ross in his documentary noted that only "four or five" public photographs of Ditko are known to exist, and one voice recording. Ross, accompanied by Neil Gaiman, met Steve Ditko at his New York office but he declined to be photographed or interviewed for the show. He did however give the two a selection of some of his old comic books. At the end of the show Ross said he has since spoken to Ditko on the telephone and was now on first name terms with him. Stan Lee | Spider-Man Films Wiki | Fandom powered by Wikia New York City, New York, USA Characters Portrayed (credited): "Man in Times Square" Stan Lee is an American comic book writer, editor, publisher, media producer, and former president and chairman of Marvel Comics.

In collaboration with artist Steve Ditko, he co-created Spider-Man in 1962. Spider-Man Edit In 1962, after his success with The Fantastic Four, Marvel heard Lee was casting about for a new superhero idea. He said the idea for Spider-Man arose from a surge in teenage demand for comic books, and the desire to create a character whom teenagers could identify with. The character first appeared in Amazing Fantasy #15 which was published in June 1962. A few months after Spider-Man's introduction, Marvel publisher Martin Goodman reviewed the sales figures for that issue and was shocked to find it to have been one of Marvel's highest-selling comics ever up until that point. A spin-off series quickly followed, beginning with The Amazing Spider-Man #1 in March 1963. The Spider-Man title eventually became Marvel's top-selling comic book series. The comics spawned multiple television shows, movies and video games. Cameos Edit Lee has had many cameos in films and television shows based on Marvel comic heroes he created such as The Fantastic Four, Iron Man, X-Men and Captain America.

Lee's cameo's in Spider-Man films are as follows: In Spider-Man , he appeared during Spider-Man's first battle with The Green Goblin , pulling a little girl away from falling debris. In the DVD's deleted scenes, Lee plays a street vendor who tries to sell Peter Parker a pair of sunglasses "just like the X-Men wear." In Spider-Man 2 , Lee pulls an innocent person away from danger during Spider-Man's first battle with Doctor Octopus . In a deleted scene that appears as an extra on the film's DVD release, Lee has another cameo, saying, "Look, Spider-Man stole that child's sneakers." In Spider-Man 3 , Lee appears in a credited role as a "Man in Times Square". He stands next to Peter, both of them reading a news bulletin about Spider-Man, and commenting to Peter that, "You know, I guess one person can make a difference". He then says his catch phrase, "'Nuff said." In The Amazing Spider-Man , Lee makes a cameo as a librarian at Midtown Science High School , oblivious to the fight between Spider-Man and The Lizard happening behind him.

In The Amazing Spider-Man 2 , Lee makes a cameo at Peter 's and Gwen 's High School Graduation Day Spider-Man

Question: Which American comic book hero was created by Stan Lee and Steve Ditko and first appeared in Marvel Comics in 1962?
Answer: SPIDERMAN